Hasil untuk "Motion pictures"

Mastandrea Stefano, Kennedy John M.

We propose that in pictures both the extended limbs of actors and the ground are involved in gestalts for movement. Limbs extend to suggest more motion literally when a dancer is in air and refer to a canonical pose when on the ground. A running pony’s curled limbs off the ground depict fast action literally. A horse’s flying-gallop off the ground suggests speedy motion metaphorically. Cast shadows indicate the actor’s location with respect to the ground. We consider extended and curled limbs, on-ground and off, in literal and metaphoric pictures.

Sylvie Magerstaedt

While philosophical debates about the ethical dimension of cinema have flourished over the last few decades, discussions of cinema and virtues are still limited. And, even if virtues are explored with regard to film, humility is not often the most obvious virtue that comes to mind. As this article argues, this might in part be due to humility’s lack of expressive action and its tendency to remain in the background. In addition, the wide range of philosophical views on what actually counts as virtuous humility, if it is to be considered a virtue at all, further problematises the discussion. One aspect of these disagreements is the question of humility’s compatibility with great achievement. This article aims to demonstrate both how humility can be shown on screen and reveal greatness and humility can go together in practice. For this, the author draws on contemporary philosophical accounts of the virtue of humility to examine Damien Chazelle’s 2018 film First Man, a Neil Armstrong biopic based on James R. Hansen’s biography of the same name. The article outlines how both the distinct portrayal of its main protagonist and the film’s aesthetic features, such as mise-en-scène, sound and editing, are used to convey an idea of humility that reconciles achievement, ambition and greatness with a recognition of sacrifice, serendipity and sometimes the futility of human endeavours. Consequently, First Man is not only a film about a humble main character, but also indicates how cinematic techniques can be used effectively to enable us to experience humility, thus demonstrating how films can make a distinct contribution to philosophical debates about virtues beyond mere illustration.

Yao Fu, Hanxi Guan, Jinglin Yin et al.

Abstract Molecular motions in metal-organic frameworks (MOFs) are important phenomena that involve the sorption of gases, the rotation of linkers, the diffusion of ions, the reaction of chemicals, and so on. Understanding these motional processes is essential for both fundamental science and the rational design of MOF materials with better functions. Solid-state nuclear magnetic resonance (SSNMR) is a unique tool that can capture dynamic pictures across a large range of time scale through a multitude of ways. It can determine the mode and rate of motion for selected molecular components either of the host framework or of the guest molecules. To characterize the molecular motions accurately and comprehensively, one needs to employ suitable SSNMR strategies according to different motion regimes. These strategies can be generally divided into four categories: exchange spectroscopy for relatively slow motion/reaction (100 ~ 103 Hz), lineshape analysis for intermediate motion (103 ~ 107 Hz), relaxation measurement for fast motion (107 ~ 1012 Hz), and pulsed-field gradient NMR for translational diffusion. This review provides brief introductions to relevant SSNMR strategies and presents recent progresses on the studies of molecular motions in MOFs.

T. Yamauchi, Kunchen Xiao

D. Smeets, A. Bus

R. Neelamegham, Pradeep Chintagunta

Manuel Palacio, Rubén Romero Santos

<p>Tomando como punto de partida el trabajo de Alberto Elena, <em>Cruces de destinos. Intercambios cinematográficos entre España y América Latina</em>, los autores analizan cómo ha evolucionado el panorama audiovisual latinoamericano al mismo tiempo que cambiaba la política cultural española con respecto a América, ejemplarizado en sendas coproducciones y adaptaciones literarias como son <em>Amores difíciles</em> y <em>La reina del sur</em>.</p><p><strong>Palabras clave:</strong> Post-Transición, televisión transnacional, coproducción, Pérez Reverte, García Márquez, adaptación literaria.</p><p><strong>Abstract:</strong></p><p>Taking as a starting point Alberto Elena’s work, <em>Cruces de destinos. Intercambios cinematográficos entre España y América Latina</em>, the authors analyse how the Latin American audio-visual scene has evolved at the same time that the Spanish cultural politics was changing with respect to Latin America. This will be exemplified in both co-productions and literary adaptations: <em>Amores difíciles</em> and <em>La reina del sur</em>.</p><p><strong>Keywords:</strong> Post-Transition, transnational television, co-production, Pérez Reverte, García-Márquez, literary adaptation.</p>

Robert Sinnerbrink

Bertrand de Souza Lira

From the analysis of the short film documentary <em>A queima</em> (Diego Benevides, 2013), we discuss the relationship between indexing, ethics and aesthetics in contemporary Brazilian documentary based on comments made by Noël Carroll (2005 ), Fernão Ramos (2001, 2008 ), Roger Odin (2012, 2005) on the delimitation of the documentary field.

Equipo Secuencias

Secuencias

Laura Pousa

Secuencias

M. Lagny

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L. Alarcón

Secuencias

Victoria Grace Walden

Alan Cholodenko

Bruno Lessard

L. T. Evans

S. Kappagantula, K. R. Rao

J. Prost

D. Adolph, R. Buschmann